pgs 6-7; T.O.B.A. ad (with notice); J.A.
Jackson´s Page, Billboard "... An almost complete list of
Theaters owned or managed by members of the Race or patronized to
a large extent by our people is a feature", pg 7, col 4.

pgs 6-8; "Big Protest" pt 1, pg 6, col 3
("... conditions at Atlanta and Pensacola cause Righteous
indignation...") sent by Garnett Washington to Tony Langston,
Stage Editor. Cummings & Bailey: complaint about Bailey
was "you had to sleep where he told you; eat at his
brother´s place & pay as much as he tells you
whether a meal ticket was used or not; if not, act was
cancelled".; T.O.B.A. ad (with "Notice...").

10/15/21

pgs 6-8; T.O.B.A. ad (with "Notice...");
"The Wherefore" by Sam Reevin, President of T.O.B.A.
(the booking Agent vs the managers vs performers): "The
booking agent is the go between for the managers and the actors.
The managers need acts; the agent supplies them.
The performers need work, and the agent supplies it; and it is
quite natural that the purchaser desires bargains, and the one who
has something to sell wants all that he can get for it, and you can
see for yourself that the agent has to deal with two extremes". ...
"The managers must stop the practice of flattering acts
(so as not to fall out with the act or cut a conversation short)
and promising them return engagements, and both manager burden for
everything and everybody..."

10/22/21

pgs 6-7; T.O.B.A. ad (with "Notice...").

10/29/21

pgs 6-8; T.O.B.A. ad; C.A.U. (Colored Actors Union)
Facts, pg 7, cols 7-8; "Reevin Makes Protest", pg 7, cols 2-3
(actors vs T.O.B.A.); "A Word To The Public" letter;
(Lew W. Henry, Manager, Lyceum Theater, agreed with Reevin - acts
shouldn't think they are worth more in one house because they
got a few laughs & went over big in other cities; very few
"show stoppers" in more than one house over circuit. Managers
shouldn't tell what other acts received as pay to
other acts; also, should have smaller units ..., etc.

pgs 6-8; T.O.B.A. ad; "Bennett Optimistic", pt 1, pg 7,
cols5-6 (President of T.O.BA. looks for better conditions);
"New Circuit", pt 1, pg 8, col 1. "New Orleans, La,
Jan 25. - Clarence Bennett of the Lyric Theater has returned from the
second annual meeting of the Theater Owners´ Booking Association
and announces plans for the formulation of a $5,000,000 theatrical
circuit. The circuit includes about 60 theaters in practically
every state of the Union, and plans under consideration contemplate
extension of the circuit to include Mexico, Canada, Porto Rico,
Cuba and the Bahamas".

pgs 6-8; T.O.B.A. ad; "Howard Theater",
pt 1, pg 8, col 1 - "A deal was consumated late last week whereby
the Howard Theater, one of the most popular houses in
the city was turned over to the theatrical corporation headed
by S.H. Dudley and William Murray. This is one of the biggest
transactions in local show business made in years and it places
in the hands of S.H. Dudley one of the finest theaters in
this section of the country. Mr. Dudley is already interested
in half a dozen local houses. He is a prominent official of
the Theater Owners' Booking Association,
and is largely interested in real estate, owning many parcels
in the preferred sections of the city. The policy of the Howard
under its new management will be announced later".

pgs 6-8; T.O.B.A. ad; "Starr´s Trip",
pg 7, col 5; "Starr Calls", pg 8, col 1 "Milton Starr,
one of the top officials of the T.O.B.A., was in Chicago last week, and a
caller at the Old Roll Top Desk. Mr Starr closed a deal whereby his circuit
will book acts into the Grand Theater weekly, splitting with the
Race´s only theater outside the "district". This
house is located on West Lake street and is said to be doing a fine
business. Regular vaudeville will be a new policy and it should
go over in fine shape".

6/10/22-6/17/22

pgs 6-8; T.O.B.A ad for both dates.

6/24/22

pgs 6-8; <Cash Offer>, pg 6, col 5
(letter to Tony Langston from Sam Reevin) "...
will pay $10 for each act and 425 for each company named by opposition
circuit promoter that played for him in the theaters named last week
by him"; T.O.B.A. ad.

pgs 6-7; "81 Theater", pg 6, col 3
(act was fined from $25 up to $75); A company is booked to play an engagement.
The contract calls for 40 people; they come in with seven or
eight. This alone is very unfair to any manager, regardless of how
good the show may be. At the option of the manager, he
is justified in fining you or cutting your salary by law, as
you are not fulfilling your contract, and have broken
it. Without a doubt, he can take out what he wishes
to for the reason that there has never been any arranged
salaries for chorus girls made by the managers, directors or
agents of the T.O.B.A. on the Columbia burlesque wheel.
There is a salary limit for choristers and a certain number
to be carried, and on opening days and the rest of the week
they check them up to see that they are all there and working.
For every girl short on the week, the company manager
pays to the theater owner $35.00, which is the salary
they receive. So in this case, if Mr Bailey has taken any money
from any company manager, he was certainly justified in
doing so, not only him, but any manager is. ... performer &
manager should join hands to do better show business.
We need each other". "Gang"; "All Acts and
Companies..." ad.

1/20/23

pgs 6-8; T.O.B.A. ad (old style); "Liberty
Theater", pg 7, col 3 by "Gang"; Sam Reevin information
also, "The annual meeting of the T.O.B.A. will convene in Chattanooga,
Tenn Jan 29, 1923 and many things will be considered as well as
election of directors".

pgs 6-7; "War On Smut" (by "Gang"),
pg 6, col 4 (on How to clean up T.O.B.A); T.O.B.A. ad; Monogram Theater ad:
"The Monogram, 3453 South State Street. Chicago holders of T.O.B.A.
franchise. Good Shows All The Time"; Reevin Writes", pg 7, col 5.
4/14/23 pgs 6-8; T.O.B.A. ad; Monogram ad (smaller than T.O.B.A. ad);
"What´s It All a About" (by "Gang") "... only
about 5 good ’tab’ shows of all presented. Those not good do
not spend enough money. ’Real’ tab show would cost
about $1000 - from which salary list would be $400".

pgs 6-7; Managers for "Tab" shows also placed ads for
performers - see "Wanted At Once" (for Way Down
Company) - "Performers in all lines. Single girls who
sing and dance. Team, Man and Wife. Long engagement for
right people. Opera house show running the year round.
Salary sure. Stop at hotels. Write, - Don't wire". - Bernard McGraw,
Manager, Richmond, Wisconsin; T.O.B.A., Monogram ads.

pgs 6-8; Monogram, T.O.B.A. ads; "Bombay
Girls" - "Gang" "... you
will notice that three of the most needed houses on the T.O.B.A.
have fallen off the list, this being due to bad shows, inferior
acts. A fellow gets tired of paying out his money for nothing and
the bookers don't try to do any better, just a matter of the same
old soup, week in and week out. Now I suppose the officials of the
T.O.B.A. will issue orders to blacklist all acts playing these
houses. Well, it is not fair for the simple reason that the
bookers will send an act to a town with the expectations of booking
them further (so they tell you), but about Thursday a wire
collect: 'next week off', and you don't hear from him anymore.
Why? Because he has lied to you. Now what are you going to do,
stay there and starve to death waiting on them? Well I should
say not. If the bookers didn't hull the managers and performers
so much we could build up a circuit whereby we could live, but as
it stands today, we are five years behind… I've warned the officials
of the T.O.BA. time and again, but they never take heed, because
I'm a Colored man, …" (exploiting Black performers), pg 8, col
1; "Attention Performers" (Grand Central and Globe Theaters in
Cleveland, Ohio are no longer booked by the T.O.B.A.); (bottom of page),
pg 8, col 3.

pgs 6-8; Answer to "Gangs" warning:
"Look out Gang, you are using "Going Back South"
"… you didn't get my permission … you can't get a copyright,
as I attended to that many years ago".
Arthur Allen. Allen and Stokes, pg 6, col 8; T.O.B.A.
& Koppin ads.

2/9/24

pgs 6-7; "T.O.B.A. Meets", pg 6, col 6; Annual Election of
Officers and Other Business Transacted. "The annual election
of officers of the T.O.B.A. (Theater Owners' Booking Association)
took place Thursday, Jan 31, the meeting…"; Koppin, T.O.B.A. ads;
"Star Theater" (Pittsburgh, PA) (by)
"Gang" - Bill (acts) was "class
& cleanliness". John "Blue Steel" Williams (was)
a good showman, veteran at the game, it stands for reason why
Harry Tenenbaum's business has grown and to show his patrons how
he has appreciated their loyalty in their support he is opening
shortly a new theater, by name, the Lincoln, and it is located
about 12 blocks from the present Star (Theater), direct on Wylie
Avenue. It will have a seating capacity of 400 and will book
T.O.B.A. attractions, and he tells me in plain words no SMUT
or VULGARITY goes, pg 7, col 3.

pgs 6-7; Letter to Drama Editor, Tony Langdon,
complaining that the T.O.B.A. wanted to set up a
"tryout house" but didn't. White Circuits had "tryout houses"
and when performers were offered 30 to 40 week contracts,
that's what they received. On T.O.B.A. instead, a team
might work a week, and lay off a week, with a jump that
would cost $20, and which tended to cut into the $90 salary
for both. - signed by Fulton Alexander of
"Alexander & Alexander" (he lived in Los Angeles),
"Letters", pg 6, col 6; Eastern end of T.O.B.A.:
Colonial Theater - Newport News, VA; Lincoln
Theater - Baltimore, MD); Douglass Theater - Macon,
GA - Audience tended to prefer "single"
and "double" one-act bills to "stock" companies, pg 6,
col 1; "Bessie Banned", pg 7, col 2: Nashville, TN -
Milton Starr, President and General Manager of the
T.O.B.A., issued orders to all officers of the
T.O.B.A. instructing them not to book Bessie Coleman
(Black Mime(?) Aviatrix). This action was taken
upon complaint of D. Ireland Thomas, H.C. Washington,
prominent citizens of Columbus, Ohio, and others, alleging
that Miss Coleman did not carry out contracts with them.
She was appearing in person with two reels of films showing
her flights in Europe and America, under contract with D.
Ireland Thomas, who claimed that "she jumped her contract
with him after he had 'framed' her act and spent a large
amount of money on special advertising for her". Starr made
investigations and found a large number of complaints against
Miss Coleman from reliable showmen and noted citizens
of Ohio, Tennessee, and other states; Lonnie Fisher's
Fun Festival- Troupe included: (all were C.A.U. members)
Louise Pollard, Myrtle Hugg, Blanche Lubri, Marie Robinson, Jewel
Cox, Ownie Jones, William Sledal, George Tilford,
Robert Barge; Koppin ad.

pgs 6-7 "T.O.B.A. Bookings": previously listed theaters
included; Koppin Theater offers to book acts; Jack &
Helen Wiggins with Sherman (their son)= "Wiggins Trio";
Curry & Curry=husband and wife Billy Curry & Edith Robinson;
Ella B. Moore Theater - being built from ground up by
Manager/husband (Chintz Moore), who spent over $3000 for
scenery and stage equipment, and was to name the Theater
after his wife - Ella B. Moore; souvenir tickets were
made, i.e.: small coupons were retained by ticket office,
and other portion was kept by the purchaser/holder;
"Texas Tattles" , pt 1, pg 7, col 8; T.O.B.A. ad;
"New Theater" to be constructed by Paul Felix
in Kansas City, MO; construction will be steel,
cement and brick, with modern steam heating and
ventilating systems; will also contain12 suites of
offices, and be situated in the very center of the
"Colored business development".

pgs 6-8; Charlie Turpin (Booker Washington Theater-St
Louis, MO) addressed a small gathering of C.A.U.
(he had spent Sunday at the country home of S.H.Dudley).
Turpin was impressed and encouraged by intentions of C.A.U.
to classify and build up show business (black).
Otherwise he felt that black vaudeville was limited.
Turpin had assumed that the intentions of the C.A.U.
was to be formed against the managers, instead
working in harmony with the managers to help build up
black show business; "Boissey DeLegge and His Bandana Girls"
included 35 people - 20 girls & musicians (jazz band);
"Wanted!" - ad for New Colored Circuit, pg 6, col 4
(bottom of page); T.O.B.A., & Koppin Theater ads; T.O.B.A.
Bookings (included same Theaters previously listed); Ella B.
Moore Theater to be opened in four more weeks.

pgs 6-8; "Why The Howard Is In Bad", pg 6, col 3 - written by
S.H. Dudley: If any theaters were percentage houses, i.e.
percent (50%) of proceeds from vaudeville - not movie - owner
would clear theater after film was shown, then charge another
admission for those who wanted to remain for the vaudeville
show, and any new admittees; T.O.B.A., Koppin Theater ads.

pgs 6-8; T.O.B.A., Koppin Theater ads; "CAU News", pg 8,
col 1: $1 for new cards for dues (were quarterly); if not
paid, would have to "lay off" until received one, and paid a
new "joining" fee of $5 instead of $3; intent was to raise
$50,000 for building an "Actors' Home & Headquarters";
Bart Kennett, well-known Magician, appointed Chief
Deputy (to S.H.Dudley) and Traveling Organizer for fund
raising; Kennett promoted idea for a Colored theatrical
guide (which) "would give railroad fare to each city,
best boarding houses, transfer men, names of every
manager, etc"; proceeds from the sale of this "Guide"
would be for this "Actors Home…"; T.O.B.A. Bookings=same theaters.

pgs 6-8; Koppin Theater & T.O.B.A. ads; Liberty Theater,
Chattanooga, TN (Sam Reevin, Mgr) - as were most theaters
during that summer season - was being renovated; principally
because of "a fire in a drug store adjoining the theater which
damaged the theater's roof. Will reopen about October 20, 1924";
Mr. Silverman=House Manager; William Jefferson & his
six-piece band=Orchestra; spacious orchestra pit in Theater;
Reevin entered vaudeville in approximately 1912; and the
orchestra, plus the stage hands had been with him since
that time; Washington Theater, Indianapolis, IN, had a
small stage; Vendome Theater, Hot Springs, AK - owner was
accused of being "derelict in his duty in that he failed
to take the interest in his business that he should have,
advertising (shows) in the proper manner).

pgs 6-7; Ella B. Moore Theater instituted policy of 1st run motion
pictures plus T.O.B.A. attractions - as stated in
"Texas Tattles", pg 6, col 6, by Wyatt B. James; "Mr. Barraso
is one of the first white men to operate a Colored theater in
the South and well deserves the success that his conscientious
efforts have won for him. He is well liked about the city,
always willing to assist any movement that will contribute
to the advancement of the Colored people's interests…"
S.T.Whitney, "Salem Sez", pg 6, col 5; "Oh Say!
Wouldn't It Be A Dream", pg 7, cols 4-5
(written by S.H. Dudley); "Gilpin Booked", pg 7, col 6:
"Three Black Stars: Charles Gilpin; Lawrence Chanault;
and Miss Rose McClendon, booked over some theaters - Bijou
(Nashville, IN) - of T.O.B.A. to perform sketch
entitled 'White Mule'". The three were purported
to command the highest salary ever paid for a sketch
over the T.O.B.A. circuit; "CAU Functions" - letter from
performer about transportation troubles, and how S.H. Dudley sent
him fare; then gives pitch for others to join the Union
(CAU), pg 7, col 2; T.O.B.A., B Booker Washington Theater,
Koppin Theater ads.

pgs 6-8; Vendome Theater (Hot Springs, AK) got new Manager=R.G.
Elliott, who was the brother of the former Manager;
"Salem Sez", pg 7, col 4: article written by S.T.Whitney
giving opinions of the Chrystal Theater (Atlanta, GA) and
Charles P. Bailey, who controlled the Chrystal; additionally,
he discussed the conditions of Black theaters;
Koppin Theater, T.O.B.A. ads; "Dud's Dope", pg 8,
col 4 - about the CAU - some performers joined union
for $2, then didn't keep in touch until they heard that
others, who had continued supporting the Union, had received
money and transportation.

pgs 6-8; Tony Langston resigned as Theatrical Editor
(Chicago Defender); James A. Jackson no longer on staff of
Billboard Magazine - economic reasons -"lack of needed
advertising for "The Page" and the policy of the paper
which forbade solicitation"- were responsible; three
other departments were discontinued for the same reason;
Billboard reduced from 124 pages to 100, Langston had
been on staff for 5 years, pg 6, col 3;
"T.O.B.A. Circuit News", pg 6, col 3; T.O.B.A.
& Koppin Theater ads; Florence Mills first of Race
to headline at the Palace (June 22, 1925).

pgs 6-7; "T.O.B.A. Bookings", pg 7, col 7;
"July 3 - 101(degrees) in Atlanta" - (broke Atlanta's heat record);
"Jonesy" Says: "Chas P. Bailey always alert and ready to spend
any amount of money to secure the best (acts)"; Milton Starr
left on business trip, among other things, he wanted to
make an investigation as to business conditions in
Charleston and Columbia, South Carolina; "Money to be Spent"
by W.R. Arnold, pg 7, col 5: "Nashville, TN -
(Special to the Defender) - The following announcement
has been made by M.B.Horwitz, Manager of The Globe Theater,
Cleveland, OH, one of the T.O.B.A.s' popular directors:…"
(describes planned remodeling, redecorating and
improvements for the Globe); T.O.B.A. ad.

pgs 6-7; "New T.O.B.A. house for Nashville, TN", pg 6,
col 1 - to be known as the Royal Theater - was previously
an old Masonic Building located almost directly across 4th Ave
from the Bijou Theater; to be remodeled, and start as a motion
picture house, but will also include vaudeville; T.O.B.A. ad.

9/26/25

pgs 6-7; "S.T. Whitney", pg 6, col 1 - Promoters of the T.O.B.A.
and the managers of "Colored Theaters" were accused of
booking first-class Tabloid shows for "big money",
and subsequently canceled at a day's notice "when the
manager has an opportunity to book a cheaper attraction,
no matter what the quality of this cheaper attraction may be";
Black performers/acts were not booked as consistently nor
shown the same consideration as performers/acts, etc on
Keith or Orpheum Circuits; cancellation clauses were abused;
performers were not given ample time to obtain other engagement;
same held true for performers who cancelled at last minute without
giving managers' time to obtain other attractions; T.O.B.A. ad.

pgs 6-8; "T.O.B.A. Bookings", pg 6, col 8;
"The Best Class", pg 6, cols 5-6 - "Observations"
by S.T. Whitney=performers were not anxious to play over T.O.B.A.
because of "Jim Crow" in South, particularly railroads
of South; suggested that managers of theaters could easily
arrange that units carrying ten or more people, or tabloid
shows be given separate compartments; have the okay signed
by passenger agent so conductor could not change when
train left station.

pgs 6-7; T.O.B.A. ad; "Curley Drysdale Radios", pg 7,
col 3: regarding the Dreamland Theater, Tulsa,
OK - Curley Drysdale, Manager, stated that the Court
took Theater away from Mrs. Z.A. Rhone and awarded
it to Mr. Cotter, who was a white, "well known theatrical man",
who was also connected with various film exchanges);
Cotter was remodeling the Theater, and planned to honor contracts
with performers: i.e. no more cutting of salaries or canceling acts,
will only hire good ones to protect himself from having to
do so; Chester Wells, formerly Stage Manager with Lincoln
Theater, Kansas City, MO, will be retained as such for
Dreamland.

pgs 6-8; "Nashville Theater Pulls Off Jim Crow Performance",
pg 7, col 8: - Milton Starr (at Bijou Theater) hit upon an
idea (probably culled from Ella B. Moore Theater) to
institute a Midnight Performance on Friday nights, wherein
whites were given main floor seating preference, and
Blacks were seated in the gallery, those who resented
were forced to purchase box seats at enormous prices,
and insulted by policemen when they attempted to purchase
seats. "The situation is unprecedented here and is rendered
the more embarrassing in that our people are barred from all
white theaters except one. In this Theater Race patrons are
forced to gain entrance through a dark unsanitary alley,
and gaining the inside must sit in the third gallery on
uncomfortable wooden benches"; Milton Starr gave as excuse
for his "Jim Crow Performance": "poor attendance", this
was used in spite of the fact that "Ethel Waters had played
to capacity house each night during the week of April 26".

5/15/26

pgs 6-7; E.B.Dudley, after two absence, became Manager of
Koppin Theater, Detroit, MI again; this was in addition to
being Manager/Owner (?) of Dunbar Theater, also Detroit;
T.O.B.A. ad.

5/22/26

pgs 6-8; T.O.B.A. ad.

5/29/26

pgs 6-7; "Stage O'Torials" by The Scribe: "T.O.B.A. - At a
meeting and election and an election of officers of the T.O.B.A.
Circuit, plans were discussed relative to the welfare of both
actor and manager. We hope the conditions will be bettered for
all concerned…"; T.O.B.A. ad.

pgs 6-8; "Chicago Theatrical News", pg 7, col 8 - Martin Klein,
Western Manager of the T.O.B.A. Circuit, promised"… wonderful
attractions for the coming seasons…excellent working conditions
for the actors…" this being so, he felt that "the actors must
bring them shows that are wholesome". If they complied, he said
that "the T.O.B.A. can give them consecutive work, probably 60
weeks"; Klein also felt that the "get-ready-quick tab of 10
people, dirty wardrobe, vulgar sayings and lewd dancing has
seen its day". He listed Clarence Muse, Irwin Miller, Miller
and Slayter, Drake and Walker, The Smarter Set (Tutt & Whitney),
etc as successful producers - acts/groups that should become
models for those who wanted to succeed; T.O.B.A. ad;
"Reevin Talks on Salaries", pg 8, cols 2-3.

9/4/26

pg 6; T.O.B.A. ad; "On The T.O.B.A. Circuit" by W.R.
Arnold - talks about circus season for most of article,
plus the Tennessee Race (Black) State fair and the success
of Gardner & Barton's "Shufflin Sam from Alabam"
(George Barton=General Business Manager of the show):
show broke records in all T.O.B.A. theaters, and Ethel
Waters' house record at Elmore Theater, Pittsburgh, PA,
by $98.50 - total gross of "Shufflin…" was $1,054.50.
George Travis was General Advance Representative of the show.

9/11/26

pgs 6-7; "On The T.O.B.A.", pg 6, col 4: success of
"Shufflin Sam…" still being extolled; Sam Reevin optimistic
about upcoming season over T.O.B.A., and the reopening
of his renovated Liberty Theater; T.O.B.A. exhibitors/managers
made a profit from film: "The Fighting Deacon", starring
"Tiger" Flowers, the Georgia Tornado - booking was handled
through the Bijou Amusement Co; T.O.B.A. ad.

pgs 6-7; "On The T.O.B.A. Circuit" by W.R. Arnold, pg 7,
cols 6-7: Salem Tutt Whitney progressing, but had to cancel
"all our new time" but will return next season over T.O.B.A.;
Cumby and Marshall's "Harlem Scandals" to open 1926 theatrical
season at Bijou theater, and was said to be "clean and free
from old style slapstick comedy offering;
"Lands T.O.B.A. Plum", pg 7, col 5 - was referring to W.R.
Arnold, who had resigned as Director of Publicity for T.O.B.A.,
and was again appointed Director of Publicity for T.O.B.A.,
began on September 20, 1926 at Bijou Theater; T.O.B.A. ad.

10/2/26

pgs 6-8; J.A. Jackson appointed Publicity Director for Race for
Columbia Circuit in several Mid-West cities; about 300 Black
artists on this circuit making $25,000 weekly with total of
approximately $1,000,000 per year for Blacks; local conditions
in some cities were making it difficult - as in other
professions - for Black performers, pg 6, col 4;
"On The T.O.B.A. Circuit", pg 7, cols 2-3 (long article);
T.O.B.A. ad.

pgs 6-8; T.O.B.A. ad; "On The T.O.B.A.", pg 7,
col 4 - success of Mamie Smith, "Queen of the Blues",
at the Bijou, both regular and Midnight (Jim Crow)
performances: "Miss Smith not only broke all box
office records of this house from a financial and
attendance point of view, but established a clientele
which will be beneficial for some time to come."

pgs 6-8; T.O.B.A. ad; Mrs. Isis M. Fountaine=one of few
female company managers in Country ("Desires of 1927"),
husband was William E. Fountaine, a member of
"Four Chocolate Dandies"; "On The T.O.B.A.", pg 8,
col 1 - reported Mamie Smith success and
"Shufflin Sam…" returning to tour over T.O.B.A.
with entirely new show, Company also included
"America's leading exponents of burnt cork (blackface) fun".

pgs 6-7; "Dud's Dope", pg 6, col 4 - was imploring acts
to bring us (T.O.B.A.) something worthwhile:
"You can get all you are worth. Ask Irving C. Miller.
You are worth what you draw is about the way to judge
the value of your act"; T.O.B.A. ad.

2/12/27

pgs 6-7; "On The T.O.B.A.", pg 6, col 8; T.O.B.A. ad;
"Dud's Dope", pg 7, col 1: listing of acts- their
personnel/bookings, etc in the Virginia/Baltimore/Washington,
DC area; "Pekin Theater, Montgomery, AL", pg 7, col 4:
work to begin on new theater last of February, and will
open early July.

pgs 6-7+ (10); "Dud's Dope", pg 6, col 8: - answer to
S.H. Dudley's question whether there was interest among
Blacks for Black movie company - "… David Starkman,
President and General Manager of the Colored Players'
Picture Corporation (Philadelphia), is interested in
making pictures, (he) had a studio, and also believed
that we (Blacks) should organize a corporation for a
half-million dollars to produce Race pictures";
"On The T.O.B.A.", pg 7, col 1; "Dudley's T.O.B.A.
Bookings, pg 7, col 4; T.O.B.A. ad.

pgs 6-7; T.O.B.A. ad; "T.O.B.A. Bookings",
pg 7, col 6; "Dud's Dope", pg 7, col 1: was
"bad year for promoters and theater owners",
not 1% of theaters made a profit and several
promoters lost money; several shows cutting size,
upcoming season looks bad, salaries and number of
railroad tickets have to be cut.

5/21/27

pgs 6-8; "T.O.B.A. Bookings", pg 6, col 1
(bottom of page) - bookings were from Nashville
theaters; "Dud's Dope", pg 7, col 6 - about Black
films and "bad times" for show business in general,
as well as the T.O.B.A. Circuit where summer business
was always bad, now spring was equally as "bad";
T.O.B.A. ad; "Linwood's Letter", pg 8, col 3 -
regarding problems for acts playing engagements
at the Pike Theater, Birmingham, AL: admission
was twenty cents ($.20), a large group - such as
the Whitman's - would have to play for that
admission, therefore most did not play it,
because they could hardly make enough to pay expenses.

5/28/27

pg 6; T.O.B.A. ad.

6/4/27

pgs 6-7; "On The T.O.B.A.", pg 6, col 8; T.O.B.A. ad.

6/11/27

pgs 6-7; "T.O.B.A. Bookings", pg 7, col 7; T.O.B.A. ad.

6/18/27

pgs 6-8; T.O.B.A. ad.

6/25/27

pgs 6-7; T.O.B.A. ad; "T.O.B.A. Bookings", pg 7, col 5.

7/2/27

pgs 6-7; "T.O.B.A. Bookings", pg 6, col 8; T.O.B.A. ad.

7/9/27

pgs 6-7; "Dud's Dope", pg 6, col 6 - continuing to
push for black films, it was rumored that only one
black show was to tour on the Columbia burlesque wheel;
Dudley saw this as a chance for the black films to benefit
from those avenues closed to blacks on the stage:
"What will become of the Race actors or shows that
do not play the T.O.B.A.? Of course, there are a few
acts that can play the white vaudeville circuits, but
a very few"; T.O.B.A. ad; "T.O.B.A. Bookings", pg 7,
col 2 (bottom of page).

pgs 8-9; performers were complaining to officials
of T.O.B.A. of long jumps and small wages;
"New Circuit", pg 9, col 7 - a new circuit
was proposed by Thomas Bailey of the "81"
Theater, Atlanta, GA; T.O.B.A. ad.

pgs 8-9; T.O.B.A. ad; "New movie house to be opened",
pg 9, cols 4-6 (with picture) - was to be open to both
races soon, and "to be located on the southeast corner
of 4th street and South Parkway".

11/12/27

pgs 6-7; Aldridge Theater, Oklahoma City, OK - Zella N.
Breaux=owner; built in 1920, seating capacity=900,
Manager=F.E. Whitlow, also showed movies; T.O.B.A. ad;
"Smashing Thru Review", pg 7, col 3 - staff of show
listed; complaints about Black managers and producers
included: bad costumes, salaries; large companies had
bad casts and "skipped out" without paying casts on
payday, in addition to not budgeting enough funds so
that if the show was in trouble, it might be necessary
to sell the show to others. Owners of shows were not
paying enough to those producing the shows, causing
large turnovers among the producers, and consequently,
there was not much continuity in the shows; T.O.B.A. ad.

11/26/27

pgs 6-7; Criticism about T.O.B.A. Circuit: - vulgarity
and smut=ruined the Circuit; some shows were so offensive
that audiences would not attend; this would cause
non-attendance at the theaters, even though the show
following might have been a 1st class attraction, by
the time the audience learned the quality of the new
show, the show would have left; T.O.B.A. ad.

pgs 6-7; "On the T.O.B.A.", pg 7, col 4, by Tim E. Owsley;
"T.O.B.A.", pg 7, col 4 - stated that there was a larger
proportion of white than black managers/owners; some
(S.T. Whitney) felt the Circuit should not be "knocked"
but "boosted", he did feel that there was room for
improvement and, except below liberty (Mason-Dixon)
line, no manager should declare his house to be a
theater for Race people, T.O.B.A. ad.

1/7/28

pgs 8-9; T.O.B.A. ad.

1/14/28

pgs 6-7; "Advance Man (W.R. Arnold) Reappointed",
pg 7, col 8 - was reappointed Advance Man for
"Dixiana" Company; "Season of 1928 to bring much success"
by W.R. Arnold, pg 7, col 5: 1927=disastrous year partly
because of the popularity of the automobile, and a fickle
public who was tired of the amusements presented to them;
T.O.B.A. ad.

pgs 6-7; Frenchy Davis to be manager for new
house in Greenville, SC on Starr-Scales Circuit; T.O.B.A. ad.

6/30/28

pgs 6-7; "A note or two", pg 6, cols 5-6 - at their
meeting in Pittsburgh, June 30, the T.O.B.A. managers,
with hope of encouraging producers (of individual shows)
to present better shows to the public, decided to lend
them financial assistance with the production costs; T.O.B.A. ad.

pgs 6-7; "Bijou opens again", pg 6, col 4 - Bijou
opened (November 30) after long period (three weeks)
of darkness; opened with T.O.B.A. road show ("Syncopated Sue"),
then opened (week of December 3) with another Majestic
Theatrical Circuit offering - Bessie Smith's
"Steamboat Days"; reason for theater being
closed=unable to get a show from either
Circuit - T.O.B.A. or Majestic; T.O.B.A.
ad - new style.

pgs 6-7; T.O.B.A. ad, pg 7, col 5 (bottom of page - small);
"Miller's Grand Theater has come back to it's own" - business
was poor for some months but was beginning to thrive;
"Chicago Theatrical News" - first T.O.B.A. show (Ida Cox Revue)
was to open at the Apollo Theater the following week.

pgs 6-7 (8-9=different edition); " 'Raisin Cain' Pleases
Grand Theater fans", pg 7, col 1 (Pt 1, pg 9); - Bob Hayes,
Columnist; "Here & There with Bob Hayes", (Pt 1, pg 8); -
states that Martin Klein, former Manager of the Grand Theater,
and one-time head of the T.O.B.A. offices in that district,
now was connected with Art Rollin of Detroit, and was in the
process of selecting performers for a newly formed Circuit;
T.O.B.A. ad (requesting "shows of all kinds…").

7/13/29

pgs 6-7 (9=different edition); "Ida Cox and Company Make
Hit at the Grand", pg 6, col 1; "Grand Theater", (Pt 1, pg 9) -
"Whitman Sisters, known to the theatrical world as
'Sweethearts of the Stage' (and absent for almost a year)
will return to Chicago, Monday, July 15…"; NO T.O.B.A. ad

pgs 6-7; "Our stage history, almost forgotten, is well
worth knowing and being proud of", pg 7, cols 6-8 written
by C.A. Leonard, "New York Times", 8/1/29 - total number
of Race theaters in America is approximately 400 alternating
between musical and dramatic stock; eighty of these theaters
are members of T.O.B.A. or "Toba", a vaudeville chain;
full name is Theater Owners' Booking Association, but some
among the Colored vaudevillians called it "Tough on Black Actors".

pgs 6-7 (11=different edition); "Ella B. Moore Theater, takes
on new life", pg 6, col 8 - taken over by a "new and efficient
Manager, Wyatt D. James", and booked "exclusively by the
T.O.B.A. under the direction of Sam E. Reevin…"; "Good shows
get results says T.O.B.A.", pg 7, col 6 (pg 11, col 2) - more
than 18 shows/acts were booked at the time, and the houses
"were up to more than 70% of the whole". Sam E. Reevin,
Treasurer/Manager of the T.O.B.A. Circuit, believed this
success was due to the diligence/concern of the
producers/managers of the shows having good costumes,
scenery and trained/professional performers, etc in
their acts/revues/shows; T.O.B.A. ad.

10/5/29

pgs 6-7 (11=different edition); "Dusty's (Dusty Murray)
New Edition Rated as Topnotcher", pg 7, col 2 - Dusty
Murray's show (cast listed) to open at the "81" Theater,
Atlanta, GA; "Joe Carmouche and Cleo Mitchell old time
stroll favorites due at Grand Oct 7 with 'Shake Your Feet'
company", (pg 11, col 2) - the company had "been one of
the best shows on the Toby wheel for more than nine years";
T.O.B.A. ad.

pgs 6-7 (10=different edition); Joe Carmouche
"We got it" at Grand Theater; week of Oct 31 to be
"Happy Go Lucky" company of Williams & Brown
"direct from a big and successful tour of the
eastern end of the T.O.B.A. Wheel"; T.O.B.A. ad.

pgs 6-7; "T.O.B.A. Bookings", pg 6, col 4 (bottom of page);
"'Visions of 1931' folds in Memphis", pg 6, col 3 - folded
because of bad business and Floyd's (Elmore Floyd of 'Franco
& Floyd', owners of 'Visions…') impending operation;
show business in general, and especially in South,
was on a downward spiral; 'Visions…' had traveled from
Louisville to Memphis, then played only two weeks of
"rotten business" (because of inclement weather),
following which, they were asked to "jump way down
in Texas". Unable to do so, they folded the production;
T.O.B.A. ad.

pg 7; "Show Routes; Week of March 24", pg 7, col 8;
"T.O.B.A. Bookings: Where They This Week"; "Many
Find Steady Work in Hollywood", pg 7, col 2 - it was felt that with
the success of the movie ("Hallelujah"), other producers
seemed similarly inclined to sign up many of the
"leading stage stars of the Race", in hopes of producing
"another Race epic", additionally, many were finding
employment in character roles, and members of mob
scenes in which their racial characteristics may not
be seen; T.O.B.A. ad.

pg 5; NO T.O.B.A. ad; "Hundreds of Performers Seek
Bookings in Vain", pg 5, cols 7-8 - hard times caused
by "merging of theater chains" and desperation of
independent booking agencies and theaters, "hit the Negro
players harder than it has their ofay brothers and
sisters", as reported by the magazine "Variety" the
previous week. Previously the "Colored Acts",
although always hopeful of performing in the
white theaters - where money was better and exposure
was highly desirable/beneficial - they could play the
T.O.B.A. Circuit, but engagements/work over the Circuit
was minimal or non-existent.

6/28/30-7/5/30

pg 5; NO T.O.B.A. ad = both dates.

7/12/30

pg 5; Sam Reevin left to go on 3-week tour through
the Middle West - went for business and recreation.

pg 5; "Theatrical Weekly ('Variety') Finds Race Show
Biz is Poor", pg 5, cols 4-6 - was 25th anniversary
of the weekly, written by Mark Vance, who gave an
accurate account of "Colored" show business - poor;
"Show Routes", pg 5, col 7.

1/17/31-3/14/31

pg 5; "Show Routes", pg 5, col 4 (bottom of page) was
listed only on 1/24/31. Page 5 was the
"Theatrical/Entertainment" page for all dates listed,
however mention of the T.O.B.A. Circuit was minimal - if at all.